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Outwitted 



A Comedy-Dramatic Novelty 



By 

HARRY L. NEWTON 

Author of "The Go- Between," "Vaudevillainies," "The 

Two-Two Train," "A Swell Affair," "The 

College Chap," etc. 



BOSTON 

WALTER H. BAKER & CO. 
1917 






Outwitted 






CHARACTERS 

James Sherman, the Ma7t. 
Sophie, the Woman, 

Scene. — A hotel apartment. 

Place. — Somewhere in 

Time. — Evening. 



-(?) 



NOTE 

Sherman is a bright and breezy type, thoroughly American and 
is attired in stylish traveling suit of tweeds. 

Sophie is a " Vampire " type, and her speech and mannerisms 
denote a foreign birth and residence. She wears handsome even- 
ing gown. 




Copyright, 191 7, by Walter H. Baker & Co. 
Professional stage and moving Picture rights reserved. 



f 







>CI.D 48028 



OCT -9 1917 
*"K* t 









Outwitted 



SCENE. — Reception room in a hotel somewhere in 
Europe. Box set in two with practical door r., and 
door in back flat a little r. of c. Curtained window at 
l. Down l. is fireplace and mantel. At r. of c. is a 
library table, on which are writing materials, an open 
traveling bag and electric lamp with shade. All furni- 
ture and appointments to be as handsome as possible, 
and decidedly foreign in appearance. At l. is small 
table and phonograph. Three or four cheap pieces of 
statuary and a vase (to break) are set about on mantel 
and tables. 

{At rise stage is in total darkness, except for light 
shown through the half open door at r., the room 
beyond being the bedchamber of Sherman's suite. 
As curtain is well up, Sherman's voice is heard in 
the room, r., speaking at 'phone. He is hidden from 
view of audience, and speaks in quick, tense tone.) 

Sherman {off r. at f phone). Yes, yes, I believe I 
understand, sir. I am to cross the frontier to-night. Yes, 
I have my passport . . . almost ready to leave now 
. . . just a few things more to throw in my bag. 
. . . No, I can't tell you that. . . . Listen, I am 
being closely watched. Yes . . . surely . . . give 
me that in code ... go ahead . . . please . . . 
quick! {Sound of key grating in lock in door R. of c. is 
heard and then door slowly swings open, disclosing 
Sophie bathed in strong light from flood at back. She 
peers cautiously into room and then just as cautiously 
enters, inserts key in door inside, listens intently an 
instant, then swiftly and noiselessly comes down to 






4 OUTWITTED 

library table and turns on light. She then begins a hur- 
ried turning over of articles on table, rummages in 
traveling bag, pulls open table drawer, all done silently 
and swiftly in apparent search of some article. She 
registers keen disappointment, is about to continue her 
search, but stops with a sharp ejacidation and registers 
alarm as Sherman's voice is heard off.) Yes. . . . 
I have it ... O. K. I'll have time to decipher your 
code instructions on my ride to the frontier. Good-bye. 

(The sharp click of 'phone receiver follows, and 
Sophie quickly withdraws to l., gazing wildly about 
her for a place of concealment. Sherman enters 
from r. He carries articles of wearing apparel, 
stops to switch on lights, and then, carelessly whis- 
tling a popular melody, comes to table. He throws 
articles on table, exits r., and immediately reenters 
with more articles of dress, all the while softly 
whistling. Sophie starts to steal in stealthy manner 
for door at back. He is about to pack things in bag, 
but stops suddenly as he discovers her. He stares 
at her dumbfounded; she is agitated but quickly 
recovers her pose, shrugs her shoulders and smiles 
innocently at him.) 

Sophie (with slight foreign accent). Good-evening, 
Monsieur Sherman. 

Sherman (gazing curiously at her, then at door and 
back again to her). I suppose it's perfectly all right, 
but . . . 

Sophie (laughing). All a mi'stake, monsieur. I was 
under the impression I was entering my own suite, but 
mine evidently is the adjoining one. 

Sherman (thoughtfully). Urn . . . sounds rea- 
sonable. (Quickly.) But the door, madam, my door 
was locked ! 

Sophie (innocently). It was? 

Sherman. It was. : 

Sophie. That could hardly be so since I am here, 
and . . . (Shrugs and smiles.) 



OUTWITTED 5 

Sherman (throwing a couple of things into bag). 
Madam, I haven't the heart to contradict a — a — lady, but 
that door was sure locked. Come now. What's the 
idea? 

Sophie (nonplussed for just an instant, then laughing 
softly). Ah, you Americans! . . . You are so 
funny ! 

Sherman. Yes, I suppose we Americans have 
appeared funny to you foreigners for the past two years 
or so, but from now on we're going to try and be taken 
more seriously. 

Sophie (apparently deeply interested) . So? 

Sherman. Quite so. Now you've got my name and 
nationality pat, would you oblige me by telling me how 
you came by said information? 

Sophie (rising and posing seductively). Why, mon- 
sieur, you have indeed a short memory. / have met you 
before. 

Sherman. You don't mean " met me." Followed 
me is more like it. (Puts few more things in bag.) 

Sophie (reprovingly). Ah, monsieur, you wrong me. 

Sherman. I hope I do, Madam or Miss . . . 
Miss . . . (At a loss for name.) 

Sophie. I am called Sophie. 

Sherman. Hey? Sophie what? 

Sophie. Just Sophie, monsieur, that's all. Perhaps 
you might care to listen to the story of my life, eh? 

Sherman (quickly). No, no, not on your life! 
Stories of women's lives all end the same. They're very 
touching. . . . (Works fingers and thumb signifi- 
cantly.) And now, Sophie . . . (pidling out watch 
and noting time) don't let me detain you. We've had a 
pleasant little chat . . . (throwing more things in 
bag) and I must go hence from here very shortly. 

Sophie (seemingly surprised). Ah, you are leaving 
town . . . the country perhaps . . . yes ? 

Sherman. Surest thing you know. 

(Picks up revolver from table, wipes it carefully with 
handkerchief, then aims it at vase on mantelpiece 
and then slowly swings it around so that the muzzle 



O OUTWITTED 

covers her. He does this business as though he 
were testing condition of gun, and quite carelessly.) 

Sophie {screaming as gun is leveled at her). Mon- 
sieur, please be careful ! 

Sherman (apparently just realizing that he has cov- 
ered her with gun). Oh, I beg your pardon. Nervous 
regarding firearms? (Places gun in bag and laughs.) 

Sophie. Deathly. ... I ... I have a hor- 
ror of them. 

Sherman. Then this room is no place for you, 
Sophie. 

Sophie. You . . . you mean you would shoot? 

Sherman. I believe I would . . . depends on 
circumstances. 

Sophie (laughing). Circumstances, monsieur? You 
speak in riddles. (Shrugs.) For instance . . . 
what particular circumstances ? 

Sherman. Well, we'll say that somebody was opposed 
to my leaving here to-night. In that event, I would be 
compelled to ... to get rough and shoot up the 
place. (She makes gesture.) No! No! You have 
nothing to fear . . ^. only, as I said before, you'd 
better leave while you are enjoying perfectly good 
health. (He closes bag with a vicious snap.) Savee, 
Sophie ? 

Sophie (seductively). Ah, Monsieur Sherman, you 
do not understand . . . you do not see . . . 
the situation . . . you do not comprehend. . . . 

Sherman (going to door at back, then turning to her). 
Permit me. . . . It's improper for a lady to be 
. . . you know . . . people will talk. 

(Signifies that she is to go; holds the door open for 
her egress.) 

Sophie (going to door alongside of him, but making 
no move to pass through; earnestly.) Listen . . . 
there is still a chance for you. . . . (He starts in 
surprise.) You speak of resorting to firearms . . . 
violence! Bah! You alone, against many. . . . 
(Takes his arms, shoves him through door so that he 



OUTWITTED 7 

can look off r. and l.) Look, monsieur! Tell me what 
you see ! 

Sherman (quick look r. and l. ; then reentering room). 
Urn! They seem to be waiting for somebody, don't 
they? (Closes door.) 

Sophie. Yes ! ! Yon 1 1 1 Come ! 

(Takes him to window, raises curtain and points.) 

Sherman (lightly). Looks like I would have an un- 
pleasant quarter of an hour or so. 

(Goes quickly to table, picks up cap and bag, then 
starts for door.) 

Sophie (springing in front of him, clutching his arm). 
Stop, you fool ! Where would you go ? 

Sherman. Why, for the frontier, of course. (She 
clutches him tighter.) Now don't make a fuss. . . . 
(Releases her hold.) I'm no wonder, but I figure I can 
give that bunch a run for their money. 

Sophie. You shall . . . you must listen to me. 
. . . Those men out there are the pick of the Regent's 
Secret Service Corps, with orders to stop at nothing to 
gain their ends. You have something the Regent wants, 
. . . They have their orders. . . . Now you com- 
prehend? 

Sherman. Ah! (Starts nervously.) 

Sophie (triumphantly). At last! (Shrugs and 
smiles.) You see, monsieur ... I know some- 
thing ? 

Sherman (coming back to table and setting bag on it). 
Yes ... I rather thought you did. . . . Now 
don't be stingy, Sophie. Split it fifty-fifty with me. 

Sophie (smiling). Maybe it shall be so. Who 
knows? First, tell me, monsieur, what that something 
is the Regent is so anxious to acquire? 

Sherman (thoughtfully). Let me think. . . . 
Oh, yes, his nobs wants my phonograph there. (Indi- 
cates it. She turns in surprise and looks at phonograph. 
He goes to it.) Greatest little machine ever invented. 
Reproduces anything exactly the same as the higher 
priced Victrolas, Our price five dollars. No home 



8 OUTWITTED 

happy or complete without one. James Sherman, general 
agent for all European territory. . . . Very simple 
to operate ... a few turns of this little crank . . . 
drop the needle, and . . . (Starts machine.) There 
you are. 

(He stops machine after it plays a short strain.) 

Sophie. No, monsieur . . . very good but not 
good enough. . . . You fool only yourself with such 
talk. Listen carefully. That which you have are the 
plans of a new war plane. (He shows agitation by a 
quick start.) Not that. (Indicates phonograph.) 

Sherman. By Jove, you have me interested. . . . 

Sophie. Those plans w r ere made by one of the 
Regent's subjects. . . . 

Sherman (forgetting himself). There's a doubt re- 
garding that point. All right, Sophie. You have it on 
me. I'll admit that I have this man's plans in my posses- 
sion, but I bought them . . . there's nothing crooked 
in the transaction . . . my government doesn't deal 
in such things. . . . That's why chaps like me go 
the limit when assigned to jobs of this sort. . . . We 
know we're going to get a square deal from our little 
old U. S. A. ! 

Sophie. Bah! You will have bad luck this time, 
monsieur — very bad luck ! You will " go the limit." 
And lose ! 

('Phone bell off r. rings sharply. They both give a 
quick start and exchange glances.) 

Sherman (going toward door r.). You'll pardon me, 
I know. (Turns at door.) In the meantime, amuse 
yourself. (Indicates phonograph and exits. Sophie 
shrugs. For an instant she gazes after him, then her 
eyes turn curiously to phonograph. She registers sudden 
interest and then goes quickly to it, looks again at door R., 
then drops needle and starts machine. As the music 
begins she commences to sway with the swing of it and 
finally starts to dance in time to it. She gradually works 
her way across stage to door r., pausing every now and 
then in cautious manner as if in fear of his returning. 
The idea of the business is that she wants to hear his 






OUTWITTED 9 

conversation and takes the business of dancing to music 
as a means to cover up her eavesdropping. Finally zvorks 
to table, takes revolver from bag, dances to fireplace and 
lays revolver on mantelpiece. She hears him returning 
and quickly drops into a chair, registering supreme inno- 
cence.) So you think I haven't a chance, eh? 

(Picks up cigar and lights for ash business.) 

Sophie (rising). Monsieur, there's but the one 
chance for you to reach your country . . . alive ! 
Give me those plans ! 

Sherman. Say, don't make me laugh. 

Sophie (going to him, using all the seductiveness and 
Vampire wiles at her command). Supposing, monsieur, 
I were to tell you that I am your friend, that I wish you 
nothing but good . . . that I ... I love you ! 
(He draws back in astonishment.) Ah, I know women 
in your country do not make such admissions to your 
men. But here . . . here we are different. Our 
blood is warmer, and we, if we love a man, tell him so. 
. . . We do not wait for his caresses, his kisses . . . 
we take them ... so ! ^ 

(She attempts to embrace him.) 

Sherman (holding her off with one hand). Here, 
wait a minute. . . . 

Sophie. You . . . you refuse my love . . 
my kisses ! 

Sherman. Yes. . . . You see, this is so sudden 

Sophie. I know ... I know ... we are 
impulsive in my country . . . we do not wait . . 
love is our one master ... we obey only him 
. . . Besides, it is my love for you that alone can save 
you. Love me, monsieur, . . . kiss me. . . . 
Yes? 

Sherman. No ! 

Sophie. Ah, you hate me? 

Sherman. No ! . . . Now see here, Sophie, I'm 
wise to the game you're playing, and you can deal me 
out of it. Maybe some men would let you pull the love 



10 OUTWITTED 

stuff just to gain their point. But I'm working along 
other lines. . . . Get me ? 

Sophie {now changing to desperation; laughing scorn- 
fully). Bah! Do you imagine that I care anything for 
you? Not that much. . . . {Snaps fingers con- 
temptuously.) Listen to me. I too am in the service of 
my country. The Regent assigned to me the duty of 
relieving you of those plans ... I, alone, monsieur 
. . . alone, do you understand? 

Sherman. But those men out there? 

Sophie. Mere stragglers and loiterers. No, it is I 
... I with whom you have to deal . . . and I never 
fail, monsieur. I have tried other tactics, now I shall 
try one more. {Runs to door, shuts and locks it, throws 
key on floor. He watches her curiously and puffing 
calmly on cigar.) In this, my country, monsieur, the 
honor of women is held a sacred thing. We shall pre- 
sume that you have enticed me into your apartment, 
locked the door and then attempted to attack me. 

Sherman. Oh, come now, Sophie. You know better 
than that. 

Sophie. Yes, / do, but what of others? Watch 
closely, monsieur, and we shall see, what we shall see. 
{Throws over a couple of chairs.) Soon I shall scream 
for help, monsieur, and w T hen they answer there must be 
signs of a desperate struggle. So! {Breaks vase.) 

Sherman {calmly; at table smoking), Um, not at 
all a bad idea. . . . 

Sophie {turning sofa over and throwing pillows on 
floor). They always accept the woman's version, and 
you . . . you will either be torn to pieces by my 
infuriated countrymen ... or be dragged to 
prison. . . . 

Sherman. Gee, I'll have a lot to tell the folks back 
home. 

Sophie {smashing piece of statuary). I shall plead 
with them to take you to prison. . . . 

Sherman. Noble hearted woman. . . . 

Sophie. And then . . . then . . . {Laughs 
wildly.) Then, monsieur, the plans you have bought 
with your country's gold will be mine. I shall win! 



OUTWITTED II 

My Regent will honor me : . . your government, 
bah ! It is powerless to interfere. ... I must win. 
. . . Ah, monsieur, God pity the loser in my country's 
service! {Breaks another vase.) 

Sherman. Keep it up, Sophie. You're beginning to 
be the life of the party. 

Sophie. Ah, you laugh now, but wait. . . . 
{Loosens her hair.) It will not prove so funny a little 
later. Now we are quite ready. . . . The stage is 
set for the grand finale. . . . Once more I appeal to 
you. . . . Give me those plans, or . . . 

Sherman. Don't mind me. Go ahead and get to the 
finale. It ought to be good. You're the author of it. 

Sophie. You fool ! I have but to scream, and . . . 

Sherman. I can see my finish. Don't mind me. 
Scream if you like. {She draws herself up as if to 
scream, but he stops her with a gesture.) Sophie, I have 
no desire to make you an object of ridicule before the 
guests of this hotel, so don't do the screaming thing until 
you've seen the cards I hold in this game. 

Sophie. I know now, Monsieur Sherman. I hold the 
best hand and you know it. . . . Yes? 

Sherman {indicating disordered condition of room). 
By all outward appearances and the disorder prevailing 
in this room, you and I have had a furious struggle. 
Right? 

Sophie {smiling in triumph). It is so. ... I 
have planned it well. 

Sherman. No, you only think you have. For in- 
stance, take a look at my cigar. . . . See the long 
ash? 

Sophie. Yes, but I . . . I . . . 

Sherman. My dear girl, it would be an utter im- 
possibility for me to put up quite such a desperate strug- 
gle as these signs indicate, and still retain this long ash 
on my cigar. . . . Now you may scream when you 
are ready, Sophie. (Sophie registers defeat, then turns, 
goes quickly to mantel and gets revolver. She moves 
slowly toward Sherman, who is at library table, convey- 
ing to audience that she is desperate and is about to shoot 
him or kill herself. At a pace or two from him he turns 



1 2 OUTWITTED 

and discovers her with revolver. He draws himself 
erect, for quick action, if necessary, when she suddenly 
bursts into a hearty peal of laughter.) Hello, what's the 
new trick, Sophie? 

Sophie. In only one way, Mr. Sherman, did I out- 
wit you in our war of wits. I made you believe that I 
was somebody other than my real self. 

{Draws card from front of gown and extends it to him.) 

Sherman {taking card, reads). " Sarah Clancy, 
United States Secret Service. ,, 

{Looks from card to her in surprise.) 

Sophie. The explanation is simple. The chief put 
you to the test. He wanted to make sure that you were 
the clever, brave and trustworthy operator you had been 
cracked up to be. Congratulations, Monsieur Sherman 
. . . and bless your loyal heart. 

Sherman {with an audible sigh of relief). Yes, and 
bless the man who invented a good cigar. {Turns to 
table, picks up bag, coat and cap. She hands him 
revolver, then goes to door, unlocks it, and holds it open. 
He goes quickly to door, turns, draws himself erect and 
brings right hand up in stiff military salute, then exits; 
quickly reenters, peeks about edge of door and smiles.) 
Good-bye, Sophie! 

Sophie. Good-bye, Jimmie! {Clasp hands, to) 



CURTAIN 



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Christmas Book of Recitations. By S. Schell. Miscellaneous 

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The Creole Belles. Entertainment in Two Scenes. Six female 

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Dick's Festival Reciter. Collection of entertainments . . . Price 30c. 

Good Things for Christmas. New collection of original ma- 
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Merry Christmas of the Old Woman Who Lived in Her Shoe. 

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THE VILLAGE POST-OFFICE 

An Entertainment in One Scene by Jessie A. Kelley. Twenty-two 
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LUCIA'S LOVER 

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A Comedy in Four Acts by Evelyn Gray Whiting. Fourteen females. 
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MRS. BRIGGS OF THE POULTRY YARD 

A Comedy in Three Acts by Evelyn Gray Whiting. Four males, seven 
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TOMMY'S WIFE 

A Farce in Three Acts by Marie J. Warren. Three males, five females. 
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Originally produced by students of Wellesley College. A very original 
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TEAM-WORK 

.a College Comedy in Three Acts 

By H. Q. Gallupe and Charles Gott 

Pri%e winner. Pen, Paint and Pretzel Contest, Tufts College, November, IQIO 

Ten males, five females. Costumes, modern ; scenery, two interiors. 
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Price, 25 cents 

CHARACTERS 

Stewart Almy, " Toot" a member of "Paint and Powder" a 

dramatic club. 
William Jefferson Jordan, "Shine" the playwright, member of 

1 'Paint and Powder. 
Bob Richards, captain of the football team, host at Forest Lodge* 
H. Gardner Humphrey, football manager. 
Frank Bell, electrician for "Paint and Powder." 
Bill Black, 



stage hands for "Paint and Powder* 



Jack Brown, 

Tom White, 

Sam Green, 

Messenger Boy. 

Dorothy Sprague, 1 

Edith Richards, Fob's sister, > Students at Jackson College. 

Ruth Sargent, ) 

Mrs. Hodgkins, Bob's aunt, the chaperon. 

Amy Sinclair Grandby, a Radcliffe student, Edith 's friend. 

SYNOPSIS 

Act I. — Dining-room at Forest Lodge, morning. 
Act II. — Same as Act I. Evening of the following day. 
Act III. — Stage of the college gymnasium, on the afternoon 
preceding the performance of the Paint and Powder play. 

the cribber 

A College Comedy in Three Acts 
By W. P. Mcintosh 
Six males, five females. Costumes, modern; scenery, three easy in- 
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Price s 15 cent* 



Merry Christmas Plays and Entertainments 

Eight entertainments for the celebration of Christmas, offering a great variety of 
appeal and intended for the use of adults as well as children. Can be recommended. 

Price, 25 cents 



CONTENTS 



Merry Christmas, Santa. 6 males, 12 fe- 
males or more. 

Who Trimmed tbe Christmas Tree. 2 
males, 2 females. 

Hope Foster's Christmas Star. 5 males, 
8 females. 

Bonnie's Christmas Eve. 3 males, 1 fe- 
male. 



6 males, 5 females. 
6 to 8 children and 



The First Christmas. 
Santa Claus' Frolics. 

Santa Claus. 
The Merry Christmas of the Old Woman 

Who Lived in Her Shoe. 1 male, 1 

female and 10 or 12 children. 
The Widow Mullin's Christmas. 8 

males, 8 females. 



Recitations for Children 



By Helen Chaffee Workman 
An admirably selected and prepared collection o e material for children edited by 
a well-known and experienced teacher of the young in this field. Issued with the 
authority of the Detroit Training School of Elocution. Strongly recommended. 

Price, 35 cents 



The Arithmetic Lesson. 

At the Theatre. 

Bamboozling Grandma. 

The Biggest Man in the Block. 

Bobby's Cotton-Tail. 

Brotherly Love, 

The Bug-a-Boo. 

Capital Punishment. 

The Case of Jim. 

City Children in the Country. 

A Culinary Problem. 

A Decision. 

The Doll's Wooing. 

Early Trials.' 

The Giddy Girls. 

The Grammar Lessors. 

Grandma's Shaker. 

Harry's Mistake. 

Her Papa. 

He's Mollycoddled. 

Isn't It Odd. 

Johnny Interviews an Anemone. 

Johnny Paves the Way. 

John Spice r's Lecture on Clothes. 

Johnny's Wish. 

Left Alone. 

Life's Compensations. 

A Little Girl's Lament. 

Little Old Peddler of Dreams. 

A Little Visitor. 

Liza Ann's Lament. 

Mine and Mary Ellen's. 

Mother Entertains. 

My Ma, She Knows. 

The Naughty Doll. 

The New Baby. 

A New Fashioned Grandpa. 

Old Skiddle-de-Wink. 



CONTENTS 

The Overgrown Boy, 

A Pastoral. 

The Pater Noster. 

The Picnic. 

The Piece I Have to Speak. 

A Place for Boys. 

Playing Lady. 

Playing Suffragette. 

A Poor Bule. 

Punished. 

Pussy and the Poppies. 

The Beason. 

Beginald's Triumph. **•— 

The Bobin and the Nightingale. 

The Schoolboy on Breathing. 

Seraphina's Visit. 

A Spelling Lesson. 

The Story of America's Discovery. 

That Seester of Mine. 

Topsy's Conversion. 

The Track in the Ashes. 

The Tragedy. 

A Twilight Dialogue. 

Two Barks. 

Two Little Girls I know. 

A Visit to Grandma. 

Wakened from a Dream. 

What One Boy Thinks. 

What the Trouble W T as. 

When Father Carves the Duck. 

When I Dit Drowed. 

When My Birthday Was, 

When Pa Put on His Skates. 

When Thomas Takes His Pen. 

Which One Was Kept. 

Who's Afraid In the Dark. 

Widdle's Kevenge. 

What Three Little Kittens Did. 



Little Folks' Entertainments 

Comprising eight'finger'plays, sixty-nine recitations and dialogues, three drills, etc., 
for little children, all complete with music, and a large and varied assortment of 
Mother Goose entertainments. Something for all occasions, 

Price, 25 cents 



Jl. 01. Pincro's Plays 

Price, 50 (Ke m Cacb 



Min fHANNFI Pla ^ in Four Acts ° Six males, five females. 
lfUi/^ViliHinEiLi Costumes, modern; scenery, three interiors. 
Plays two and a half hours. 

THE NOTORIOUS MRS. EBBSMITH $ST ■!#£ 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THF PRftFIIPATF P lavin Four Acts. Seven males, five 
* **Ei I IWJT Lil vJrV 1 Li females. Scenery, three interiors, rather 
elaborate ; costumes, modern. Plays a full evening. 

THF QPHflflT MIQTPFQQ Farce in Three Acts. Nine males, 
lIlCi iJ^llV/ULiLH101IV£iiJtJ seven females. Costumes, mod- 
ern ; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY !{&*,££*& 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 

QWFFT I AVFNHFR Comedy in Three Acts. Seven males, 
%J ff LtLt 1 Li/V T Lill L/EiIV f our females. Scene, a single interior, 
costumes, modern. Plavs a full evening. 

THF THTTNfnFERni T Comedv in Four Acts. Ten males, 
lllEi lnUHULIVDULl nine females. Scenery, three interi- 
ors; costumes, modern. Plays a full evening. 

THF TI1WFS Comedy in Four Acts. Six males, seven females. 
l**Ei Ill'lEiiJ Scene. a single interior; costumes, modern. Plays 
a full evening. 

THF WFAKFR QFY Comedy in Three Acts. Bight males, 
1 IIEj TTL,/\I\Ej1Y OIL A eight females. Costrimes, modern; 
scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE ^tl£,£Z%J&: 

Costumes, modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

Salter & 5Bate & Company 

NOo 5 Hamilton Place, Boston, Massachusetts 



LS? RY 0F CONGRESS 




017 401 H7 5 • 

Cije ^tlltatn barren CtJtttou 
of Paps 

t&rice, 15 €ent£ <£arfj 



A^ Yflll I IKF IT Comed y *** Five Acts. Thirteen males, four 
A3 lvu LfllVb It females. Costumes, picturesque ; scenery, va- 
ried Plays a full evening. 

CAM II T F ^ rama * n Five Acts. Nine males, fire females. Cos- 
AiUUfLfit tumes, modern ; scenery, varied. Plays a full evening. 

INfiOMAR ^y in Five Acts - Tnirte © n males, three females. 
IliUViJl AA Scenery varied ; costumes, Greek. Plays a full evening. 

MABY ^TIIABT Tragedy in Five Acts. Thirteen males, four fe- 
iTlAIVl iJlUAAl males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

THE MERCHANT OF VENICE Stt^!: §S££S! 

picturesque ; scenery varied Plays a full evening. 

IUCHFT IFTI 1*^7 mFive Acts. Fifteen males, two females. Scen- 



evening. 



ery elaborate ; costumes of the period. Plays a full 



THF RIVAT ^ Comedy in Five Acts. Nine males, five females. 
lliLf AlYALfiJ Scenery varied; costumes of the period. Plays a 
full evening. 

SHE STOOPS TO CONQUER » ffi^SJS? T 

ried ; costumes of the period. Plays a full evening. 

TWELFTH NIGHT; OR, WHAT YOD WILL 2T% to FlTe 



three females. 
full evening. 



en males, 
Costumes, picturesque ; scenery, varied. Plays a 



Sent prepaid on receipt of price by 

Salter $. QBafeer & Compan? 

Ho. 5 Hamilton Place, Boston, Massachusetts 



S. J. PARKHILL ft CO., PRINTERS. BOSTON. U.9.A. 



